"New Mackrel": An Engraving From the 18th Century Series 'The Cries of London'

"New Mackrel" depicts a fishwife standing on the left, selling fish to two women at their doorstep. The commonest and most popular fish to be sold by the eighteenth century hawkers was the mackerel. Probably because the fish would not keep as long as others, mackerel-sellers were granted the special privelege of selling their wares on Sundays. The cry of the fish sellers was often "Mackrel, mackrel new, Buy my fresh mackrel, mackrel new, four for a shilling fine mackrel fine, new mackrel, mackrel new.", which was the cheapest price. At the start of the season, mackerel were often much more expensive, selling for more than a shilling each.

This engraving is framed in an ornate gold-colored wood frame with double mats; a light beige silk outer mat and a teal blue inner mat. The frame measures 21.75" x 17.5" x 1.07". There is a small spot in the upper right margin and another in the left upper portion of the image, but it is otherwise in excellent condition".

Although there were versions of the "Cries of London" created for centuries, the most well known and popular was this series, created by Francis Wheatley. Wheatley exhibited his 14 paintings of the "Cries" at the Royal Academy between 1792 and 1795. The publishing company Colnaghi & Co. were impressed by his work and agreed to publish a series of engravings after Wheatley's famous paintings. Thirteen of the fourteen paintings were engraved with a stipple technique by some the most noted engravers in England, including: Niccolo Schiavonetti, Giovanni Vendramini and Thomas Gaugain. These colorful prints give a glimpse of 18th century London's commoners, the peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. They advertised their wares with musical shouts or melodic rhymes, which were a constant part of the sights and sounds of the city at that time. Wheatley grew up in Covent Garden among the hawkers with their cries echoing in the streets around the market. The old stone pillars of the market buildings still stand today. Wheatley's wife was also a painter and exhibited at the Royal Academy. She served as the model for the women in several of the scenes.

Two years before Wheatley exhibited his paintings at the Royal Academy, the forty-one year old painter had been elected to the Royal Academy over the King’s nominee. The king was upset at this and made sure that Wheatley never again received another of his or his nobles' commissions. The portraits of nobles had previously been Wheatley's main source of income. Ironically, what should have been the crowning glory of his career, instead turned out to be its ruin. Wheatley was declared insolvent in 1793 and struggled to make a living until his death in 1801, when the Royal Academy paid his funeral expenses. Yet in the midst of this turmoil, Wheatley managed to create these wonderful images of street sellers. Although they were seen at the time as of little consequence compared to his aristocratic portraits, are now the works that define his lasting reputation. His “Cries of London” series is considered by many as the most beautiful and most popular prints ever created on this subject.